ABSTRACT
The logos is the technical/artistic rhetoric proof, according to Aristotle (2000ARISTÓTELES. 2000. Retórica. Tradução e notas de Manuel Alexandre Júnior. Estudos Gerais - Série universitária - Clássicos da filosofia. Lisboa: Imprensa Nacional Casa da Moeda.), in which the speaker tries to show or demonstrate the truth by discourse. That is, it is the use of logical reasoning with the aim of founding a persuasive proposition. For authors like (Amossy, 2006AMOSSY, Ruth. 2006. L'argumentation dans le discours. Paris: Armand Colin.) and (Olbrechts-Tyteca and Perelman, 2008OLBRECHTS-TYTECA, Lucie & PERELMAN, Chaïm. 2008. Traité de l'argumentation - la nouvelle rhétorique. 6 ed. Bruxelas: Editions de l'Université de Bruxelles.), since the discursive genres always look forward to having some kind of impact on the public, they are provided with argumentativeness, in different degrees and intentions. In this article, we intend to discuss the possibilities of theusageof logos in narrative fiction film, from the perspective of the discourse's argumentative analysis and the semiolinguistics theory (Charaudeau: 2001______. 2001. Uma Teoria dos Sujeitos da Linguagem. In: MARI, Hugo; MACHADO, Ida Lucia; MELLO, Renato (orgs.). Análise do Discurso: Fundamentos e Práticas. Belo Horizonte: NAD/FALE/UFMG. p. 23-38.). The method involves the application of some categories of logos to an argumentative-discursive analysis of some sequences of The Godfather Part II (The Godfather Part II, 1974), by Francis Ford Coppola, taking into account the elements of film language. This research has shown the usefulness of fiction film's approach as an object of study in this area, as well as the intrinsic relationship between the rhetorical evidences of ethos, pathos and logos.
Key-words:
Logos; Argumentation; Semiolinguistics; Film
